Really appreciated this interview with Eno. Two select quotations that stuck with me:
Something that kind of disappoints me is that most of the new technology from the ’80s onwards has been about the atomization of society. It’s been about you being able to be more and more separate from everybody else. That’s why I don’t like the headphones thing. I don’t want to be separate in that way.
I can’t say that I agree with this assessment, but understand that technology is wrapped up in a very particular culture of neoliberal capitalism that can be harmful for communities writ large. His subsequent reflections more broadly about social media—that it can create the almost total self-enclosure of micro-communities—is definitely something that raises prominent concerns, though frankly I wish that there was more scholarship that dug into this as an issue as took place about 15 or so years ago. Obviously there is new scholarship but little of it seems methodologically satisfactory with focuses on quantitative rather than qualitative and quantitative approaches.
Quite a few of the films I’ve made music for, I never saw the picture before I finished all the music. And I like that, because I don’t want the music to map totally onto the film. I want the music to suggest — to increase the ambiguity, basically. To expand the film a bit. Not to underline it. Often, and especially with Hollywood soundtracks, the whole point of the soundtrack is to tell you, the dumb sod watching it, “Now you’re supposed to feel sad. Now it’s funny. Laugh! Go on!” And I just don’t want to be in that business of underlining things.
This seems like a pretty stellar way of thinking through what he wants his work to do, and not do. Though in a contemporary era I’m surprised that producers or directors are willing to leave the music so out of their control.